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LUDOVIC: Dame Rebecca, Rebecca West is not your real name, is it? | 0:00:21 | 0:00:24 | |
No, my real, my born name, | 0:00:24 | 0:00:27 | |
was Cicely Isabel Fairfield, | 0:00:27 | 0:00:30 | |
which is a name quite impossible, unless you have blonde ringlets | 0:00:30 | 0:00:35 | |
and bright blue eyes. I had neither. | 0:00:35 | 0:00:38 | |
Now, I read that you wanted to become a writer from a very early age. | 0:00:38 | 0:00:42 | |
- Is that so? - Well, we all wrote in the family. | 0:00:42 | 0:00:45 | |
It was a sort of permanent condition. | 0:00:45 | 0:00:49 | |
My... | 0:00:49 | 0:00:51 | |
my father was a writer. | 0:00:51 | 0:00:54 | |
He wrote on politics and he was a journalist. | 0:00:54 | 0:00:57 | |
And I had uncles and aunts and cousins. | 0:00:57 | 0:01:02 | |
It was something you did in the house, like embroidery or carpentry. | 0:01:02 | 0:01:07 | |
And you wrote this article in The Freewoman | 0:01:07 | 0:01:09 | |
about women's rights. What was that article about? | 0:01:09 | 0:01:13 | |
It was about Mrs Humphry Ward, who wanted women not to have the vote. | 0:01:13 | 0:01:18 | |
And, so, I gave...I gave her a good going-over, as one can, at 18. | 0:01:18 | 0:01:25 | |
I was brutal, contemptuous and altogether very disagreeable. | 0:01:25 | 0:01:30 | |
And... As you can be when you're 18. | 0:01:30 | 0:01:32 | |
I couldn't write anything so cruel now. | 0:01:32 | 0:01:35 | |
And, then, when you were 19 or 20, you reviewed, in The Freewoman, | 0:01:35 | 0:01:39 | |
- I think, a novel of HG Wells... - Yes. | 0:01:39 | 0:01:41 | |
- ..called Marriage. - Yes. | 0:01:41 | 0:01:43 | |
Now, what was your view of HG Wells at this time, before you met him? | 0:01:43 | 0:01:47 | |
Well, he wrote books. | 0:01:47 | 0:01:49 | |
And I thought that he pretended to be a feminist and really wasn't. | 0:01:49 | 0:01:53 | |
LUDOVIC: What sort of a man was HG Wells like, to be with? | 0:01:53 | 0:01:58 | |
Er...he was excellent fun, everybody will tell you that. | 0:01:58 | 0:02:02 | |
And he was also, to his friends, | 0:02:02 | 0:02:06 | |
there was an extraordinary thing that is not remembered about him, | 0:02:06 | 0:02:11 | |
that he was so kind to a lot of people. | 0:02:11 | 0:02:13 | |
He had on a string a whole lot of unsuccessful writers | 0:02:13 | 0:02:18 | |
and people who he'd been at school with | 0:02:18 | 0:02:22 | |
or had been at the Imperial College with. | 0:02:22 | 0:02:26 | |
He was awfully kind to a lot of people. | 0:02:26 | 0:02:29 | |
LUDOVIC: How do you rate him as a writer today? | 0:02:29 | 0:02:33 | |
Er... | 0:02:33 | 0:02:34 | |
Oh, some of his stuff is beautiful, | 0:02:34 | 0:02:37 | |
and I've often thought that his dialogue was so good, | 0:02:37 | 0:02:42 | |
that he would've made a very good playwright. | 0:02:42 | 0:02:45 | |
But somehow he never got down to that. | 0:02:45 | 0:02:48 | |
And, of course, all his stories, | 0:02:48 | 0:02:50 | |
really he brought the subject of science fiction on a hundred years, | 0:02:50 | 0:02:57 | |
by the short stories he wrote himself. | 0:02:57 | 0:03:01 | |
There were very, very few approaches to science fiction until HG wrote. | 0:03:01 | 0:03:08 | |
You have a few odd things like intimations | 0:03:08 | 0:03:11 | |
of strangers from other worlds in, say, Sheridan Le Fanu. | 0:03:11 | 0:03:15 | |
You get a sense of there being more than one ordinary... | 0:03:15 | 0:03:19 | |
er...kind of life. | 0:03:19 | 0:03:22 | |
And he peopled the science fiction scene with a dozen forms of spookery. | 0:03:22 | 0:03:29 | |
Well, now, of course, at this time, | 0:03:29 | 0:03:31 | |
you were writing yourself and you were meeting many other writers. | 0:03:31 | 0:03:35 | |
- And one of them was Shaw... - Yes. | 0:03:35 | 0:03:37 | |
..who wrote of you in 1916 to Mrs Patrick Campbell as follows... | 0:03:37 | 0:03:41 | |
"When I arrived here..." - here, I think, is Glastonbury - | 0:03:41 | 0:03:44 | |
"..I struck a precipitous flirtation with Rebecca West, | 0:03:44 | 0:03:48 | |
"an extremely clever young woman, | 0:03:48 | 0:03:50 | |
"whose critical writings have been startling everyone. | 0:03:50 | 0:03:53 | |
"Rebecca can handle a pen as brilliantly as ever I could | 0:03:53 | 0:03:56 | |
"and much more savagely. | 0:03:56 | 0:03:58 | |
"We fell into one another's arms, intellectually and artistically, | 0:03:58 | 0:04:01 | |
"and had I not turned 60 and been afraid of being ridiculous..." | 0:04:01 | 0:04:06 | |
Do you remember that? | 0:04:06 | 0:04:07 | |
Certainly I do remember it, very well. | 0:04:07 | 0:04:09 | |
And it's one of the funniest passages I know, in all of Shaw's writing, | 0:04:09 | 0:04:14 | |
because he was trying, the silly old buffoon, | 0:04:14 | 0:04:17 | |
to make Mrs Pat jealous. | 0:04:17 | 0:04:19 | |
What was that year...? It wasn't Glastonbury, it was Keswick. | 0:04:19 | 0:04:23 | |
Quite a difference. | 0:04:23 | 0:04:25 | |
No holy thorns on Keswick. | 0:04:25 | 0:04:28 | |
- But...what date was that? - Well, I have it as 1916. | 0:04:28 | 0:04:33 | |
Well, do you know, I'd known him since I was 17. | 0:04:33 | 0:04:38 | |
I'd been introduced to him, I think by Ford Madox Ford. | 0:04:38 | 0:04:42 | |
And I was much fonder of Mrs Shaw than I was of him. | 0:04:42 | 0:04:46 | |
And there was never the smallest sentimental attachment between us. | 0:04:46 | 0:04:54 | |
And he was simply making Mrs Patrick Campbell feel | 0:04:54 | 0:04:57 | |
that he'd had a wonderful walk-out with somebody young and charming. | 0:04:57 | 0:05:03 | |
It's no relation to reality. | 0:05:03 | 0:05:06 | |
I went many a long walk with him, over the fells, | 0:05:06 | 0:05:10 | |
with my sister, my older sister, | 0:05:10 | 0:05:13 | |
and a man who was a civil servant called Slattery. | 0:05:13 | 0:05:19 | |
And I don't think I ever was alone with him at Keswick. | 0:05:19 | 0:05:23 | |
And men are awful liars. | 0:05:23 | 0:05:25 | |
LUDOVIC: What did you feel about Shaw, | 0:05:26 | 0:05:29 | |
as a companion, as a man of letters? | 0:05:29 | 0:05:32 | |
He's a mythical figure to us. Was he a forbidding character? | 0:05:32 | 0:05:35 | |
Was he easy to talk to? What was he like? | 0:05:35 | 0:05:38 | |
Well, the question of being easy to talk to never arose. | 0:05:38 | 0:05:42 | |
He was talking steadily. | 0:05:42 | 0:05:44 | |
And very delightful it was. | 0:05:44 | 0:05:46 | |
LUDOVIC: And how do you reckon he stands now in English literature? | 0:05:47 | 0:05:51 | |
People like to, er, go and see his plays, | 0:05:51 | 0:05:57 | |
because I think he was, really - I think it's been pointed out before - | 0:05:57 | 0:06:00 | |
he really treated words as if they were notes in music. | 0:06:00 | 0:06:04 | |
And he wrote speeches that were like beautiful operatic arias. | 0:06:04 | 0:06:08 | |
And it's wonderful stuff to act. All actors love Shaw. | 0:06:08 | 0:06:12 | |
And you go there for a sort of performance. | 0:06:12 | 0:06:15 | |
But I don't think he had enough ideas | 0:06:15 | 0:06:17 | |
and I don't think they were good ones. | 0:06:17 | 0:06:19 | |
LUDOVIC: Of all the writers of that time, | 0:06:19 | 0:06:21 | |
and there were many considerable ones, | 0:06:21 | 0:06:23 | |
leaving aside HG Wells and Shaw, | 0:06:23 | 0:06:26 | |
who do you find, looking back, the most interesting? | 0:06:26 | 0:06:30 | |
Well, there was something very beautiful about Conrad. | 0:06:30 | 0:06:34 | |
Of course, Conrad had very funny sides to him. | 0:06:34 | 0:06:38 | |
HG always used to say that every two years, | 0:06:38 | 0:06:44 | |
he used to want to find out what it was | 0:06:44 | 0:06:46 | |
that the English saw in Jane Austen. | 0:06:46 | 0:06:49 | |
And he'd shut himself up in a room with the works of Jane Austen, | 0:06:49 | 0:06:54 | |
and then the family would hear noises | 0:06:54 | 0:06:56 | |
of breaking furniture inside the room, | 0:06:56 | 0:06:58 | |
and he'd burst out and say, "I can't understand it!" | 0:06:58 | 0:07:01 | |
And that was rather like him. | 0:07:01 | 0:07:03 | |
LUDOVIC: I don't suppose Jane Austen would have understood Conrad! | 0:07:03 | 0:07:06 | |
Oh, I think she would. | 0:07:06 | 0:07:08 | |
I think she had a... She expected the animal... | 0:07:08 | 0:07:12 | |
She expected the male animal to jump anyway. | 0:07:12 | 0:07:15 | |
But he couldn't understand it. But he was a sweet person. | 0:07:15 | 0:07:19 | |
I used to meet him with a man who wrote very good short stories, | 0:07:19 | 0:07:23 | |
now forgotten, called Cunninghame Graham. | 0:07:23 | 0:07:25 | |
And it was always very, very delightful. | 0:07:25 | 0:07:29 | |
But I must say that it always amused me that Conrad, | 0:07:29 | 0:07:34 | |
though I'm sure he was the most faithful and loving husband, | 0:07:34 | 0:07:37 | |
very kind to his wife, | 0:07:37 | 0:07:39 | |
he was very touched by a beautiful girl who came to England, | 0:07:39 | 0:07:44 | |
whose name, I think, was Jane Guggenheim, Jane Taylor. | 0:07:44 | 0:07:48 | |
She was the wife of Deems Taylor, the composer, | 0:07:48 | 0:07:51 | |
absolutely marvellous, with orange hair. | 0:07:51 | 0:07:53 | |
And he was distinctly, sort of rather ethereally, in love with her. | 0:07:53 | 0:07:59 | |
And so when his letters came out, I turned up the index | 0:07:59 | 0:08:04 | |
and I found an entry for her, so I thought, | 0:08:04 | 0:08:07 | |
"How is this marvellous stylist going to describe the woman that he loved?" | 0:08:07 | 0:08:12 | |
And I looked up, and he said, "An American woman came to lunch today. | 0:08:12 | 0:08:17 | |
"Yum-yum." | 0:08:17 | 0:08:19 | |
REBECCA: And that was all he said about her. | 0:08:20 | 0:08:22 | |
LUDOVIC: Do you think that any writers of today | 0:08:22 | 0:08:26 | |
have the same kind of stature | 0:08:26 | 0:08:28 | |
as those of your contemporaries in the 1920s? | 0:08:28 | 0:08:31 | |
No. | 0:08:33 | 0:08:34 | |
I think partly because they had... they had... | 0:08:34 | 0:08:38 | |
A writer had a much more comfortable life. | 0:08:38 | 0:08:44 | |
They hadn't been upset by so many wars. | 0:08:44 | 0:08:47 | |
And, then, when they got money, | 0:08:47 | 0:08:49 | |
they had comfortable houses, with servants. | 0:08:49 | 0:08:52 | |
And there wasn't the scurry and the running about | 0:08:52 | 0:08:55 | |
and the huge demands from the Inland Revenue. | 0:08:55 | 0:08:58 | |
And it was easier for people to write more books than they do now | 0:08:58 | 0:09:03 | |
and to keep up on a higher standard. | 0:09:03 | 0:09:06 | |
LUDOVIC: But would you say there was anybody writing today | 0:09:06 | 0:09:08 | |
you felt was of that standard? | 0:09:08 | 0:09:11 | |
No. I think there's more people whose whole work | 0:09:13 | 0:09:17 | |
forms a very interesting sort of corpus. | 0:09:17 | 0:09:21 | |
LUDOVIC: What about Solzhenitsyn? | 0:09:21 | 0:09:24 | |
Well, that's so tangled by political advocacy, | 0:09:24 | 0:09:27 | |
and, of course, to me, | 0:09:27 | 0:09:29 | |
a writer is someone that has to stand apart from politics. | 0:09:29 | 0:09:35 | |
You always have to know better than the men of action. | 0:09:35 | 0:09:38 | |
You always have to give the... | 0:09:38 | 0:09:43 | |
point of view that's not...complicated | 0:09:43 | 0:09:48 | |
by the fact that you have to bear responsibility. | 0:09:48 | 0:09:52 | |
Politicians have to bear responsibilities for actions | 0:09:52 | 0:09:56 | |
which depend on views of the moment, | 0:09:56 | 0:10:00 | |
of the moment when the action is called for. | 0:10:00 | 0:10:03 | |
Writers have to look at things from a more long-term point of view. | 0:10:03 | 0:10:08 | |
LUDOVIC: You wrote in 1944, | 0:10:08 | 0:10:11 | |
"A left-wing journalist is what I have been | 0:10:11 | 0:10:13 | |
- "since I was 18 years of age." - Yes. | 0:10:13 | 0:10:15 | |
Is that how you still consider yourself? | 0:10:15 | 0:10:18 | |
No, because I know more. | 0:10:18 | 0:10:21 | |
If I was... If I was... | 0:10:21 | 0:10:23 | |
If I hadn't learnt to... | 0:10:23 | 0:10:27 | |
slowly, to have a writer's point of view... | 0:10:27 | 0:10:31 | |
..I might still be on the level of party politics. | 0:10:33 | 0:10:36 | |
But I hope I'm not. | 0:10:36 | 0:10:37 | |
You've written more recently that to be a left-wing writer | 0:10:37 | 0:10:41 | |
is to be "in the mood" and you talk of | 0:10:41 | 0:10:43 | |
"the peculiar heresy to be told that a left-wing government | 0:10:43 | 0:10:47 | |
"is the most natural thing for England." | 0:10:47 | 0:10:50 | |
So it seems that you have changed. | 0:10:50 | 0:10:52 | |
I don't think that it's natural | 0:10:52 | 0:10:57 | |
for people to be left-wing, | 0:10:57 | 0:11:00 | |
for England to have a left-wing government, | 0:11:00 | 0:11:04 | |
because I remember the time when it was completely natural for England | 0:11:04 | 0:11:09 | |
to have just a Tory government or a Liberal government. | 0:11:09 | 0:11:14 | |
It was completely natural in those days. | 0:11:14 | 0:11:17 | |
It would've been profoundly unnatural to have had a Labour government, | 0:11:17 | 0:11:21 | |
because I don't know where you would have found the people | 0:11:21 | 0:11:24 | |
who were fit to carry it on. | 0:11:24 | 0:11:28 | |
LUDOVIC: In your youth, you were, as you've already told me, | 0:11:28 | 0:11:32 | |
a great fighter for women's rights, | 0:11:32 | 0:11:34 | |
- women's freedom. - Yes. | 0:11:34 | 0:11:36 | |
What do you think of women's lib today? | 0:11:36 | 0:11:38 | |
Well, there's so many different sorts. | 0:11:38 | 0:11:41 | |
There's so many different sorts of women's lib. | 0:11:41 | 0:11:45 | |
I would think, on the whole, it was a thoroughly sane movement. | 0:11:45 | 0:11:51 | |
I can't think of... | 0:11:51 | 0:11:54 | |
Some women's lib writers strike me as, um... | 0:11:54 | 0:12:01 | |
asking too much of fate. | 0:12:01 | 0:12:04 | |
For example, many of them write as if it was a woman's right | 0:12:04 | 0:12:09 | |
to live with a man they weren't married to. | 0:12:09 | 0:12:13 | |
But that's not wholly irrelevant. | 0:12:13 | 0:12:17 | |
There may all sorts of women who need to be liberated | 0:12:17 | 0:12:21 | |
from all sorts of forms of sex oppression, | 0:12:21 | 0:12:24 | |
who are not attractive and who would not get male lovers or husbands | 0:12:24 | 0:12:29 | |
and who might be lesbians or might be unattractive to women. | 0:12:29 | 0:12:34 | |
I think it's too highly charged with the idea of sexual liberation. | 0:12:34 | 0:12:40 | |
LUDOVIC: But do you feel that men and women should be, | 0:12:40 | 0:12:43 | |
from a social point of view, | 0:12:43 | 0:12:44 | |
really completely equal? I mean, as regards pay, | 0:12:44 | 0:12:48 | |
as regards who pays the bills and all that kind of thing? | 0:12:48 | 0:12:51 | |
Um... | 0:12:53 | 0:12:54 | |
Well, I mean, my own experience was limited by the fact | 0:12:56 | 0:13:02 | |
that if I hadn't paid the bills, | 0:13:02 | 0:13:04 | |
if you mean write them and manage some expenditure, | 0:13:04 | 0:13:09 | |
my husband would've left them in various pockets, | 0:13:09 | 0:13:15 | |
and they wouldn't have been dealt with. | 0:13:15 | 0:13:17 | |
And his household, domestic ability... | 0:13:17 | 0:13:20 | |
- his ability to run a household... - I thought he was a banker? | 0:13:20 | 0:13:26 | |
Oh! That's an interesting thing. He was a banker. | 0:13:26 | 0:13:31 | |
He went in and banked as merrily as the next banker, | 0:13:31 | 0:13:36 | |
for quite a number of years. | 0:13:36 | 0:13:37 | |
But what he should've been was an art historian. | 0:13:37 | 0:13:40 | |
That's what he really was best at. | 0:13:40 | 0:13:43 | |
- And, um... - I only mentioned that | 0:13:43 | 0:13:45 | |
because you said that he wasn't very good | 0:13:45 | 0:13:47 | |
as far as the household bills were concerned, | 0:13:47 | 0:13:50 | |
which is surprising to find in a man who was a banker. | 0:13:50 | 0:13:52 | |
Oh, no, I don't think so. They're a scatty lot. | 0:13:52 | 0:13:56 | |
Very scatty lot. | 0:13:56 | 0:13:57 | |
I've known lots of them, and most of them are very scatty. | 0:13:57 | 0:14:01 | |
And don't think about the household bills as... | 0:14:01 | 0:14:05 | |
It's not really the same as floating an issue and all that carry-on. | 0:14:05 | 0:14:09 | |
LUDOVIC: One of the...of the many books you've written, | 0:14:09 | 0:14:12 | |
one of the most famous, I suppose, | 0:14:12 | 0:14:14 | |
and for which you're most widely known, is The Meaning Of Treason | 0:14:14 | 0:14:18 | |
and The New Meaning Of Treason. | 0:14:18 | 0:14:20 | |
Why were you particularly interested in that? | 0:14:20 | 0:14:22 | |
Was that as a result of the Nuremberg Trials, or what? | 0:14:22 | 0:14:24 | |
No, it began before the Nuremberg Trials, I think. | 0:14:24 | 0:14:28 | |
It was that I had used to... | 0:14:28 | 0:14:34 | |
work on the farm during the war | 0:14:34 | 0:14:37 | |
and then I used to come in and have one glass of gin and tonic water | 0:14:37 | 0:14:43 | |
and turn on the wireless to hear James Joy...er, William Joyce. | 0:14:43 | 0:14:47 | |
James Joyce would have been quite different! | 0:14:47 | 0:14:50 | |
- William Joyce. - Lord Haw-Haw. | 0:14:50 | 0:14:52 | |
Yes, Lord Haw-Haw. | 0:14:52 | 0:14:54 | |
And, then, when he was brought up for trial, | 0:14:54 | 0:14:58 | |
The New Yorker asked me to do the trial | 0:14:58 | 0:15:02 | |
and to do Amery's, and I got fascinated by the subject. | 0:15:02 | 0:15:07 | |
Now I can hardly bear to hear of spies, | 0:15:07 | 0:15:09 | |
because I've just had too many of them, | 0:15:09 | 0:15:11 | |
and, of course, it's changed. | 0:15:11 | 0:15:13 | |
There used to be the odd cock-eyed idealist, | 0:15:13 | 0:15:17 | |
and most of their suppositions were, as it happened, wrong. | 0:15:17 | 0:15:22 | |
But now...the spies who are employed | 0:15:22 | 0:15:28 | |
are mostly professionals who might have robbed banks or anything else. | 0:15:28 | 0:15:33 | |
They're the people who really get hold of the stuff and sell it. | 0:15:33 | 0:15:37 | |
And it's not interesting any more to me, to my mind. | 0:15:37 | 0:15:39 | |
LUDOVIC: Well, now, coming up to the present, are you still...? | 0:15:39 | 0:15:44 | |
You write columns, I know, but are you still writing books? | 0:15:44 | 0:15:48 | |
Well, I'm trying to finish a book. | 0:15:48 | 0:15:51 | |
I've had a great deal of difficulty with my eyes, | 0:15:51 | 0:15:56 | |
because I've got double cataract. | 0:15:56 | 0:15:58 | |
And I've had various illnesses. | 0:15:58 | 0:16:03 | |
And my work has been interrupted. | 0:16:03 | 0:16:07 | |
But I'm two-thirds through a novel. | 0:16:07 | 0:16:10 | |
LUDOVIC: How do you write? With a typewriter or in longhand? | 0:16:10 | 0:16:13 | |
No, it's maddening. I can't see a typewriter any longer. | 0:16:13 | 0:16:17 | |
I write just with a, um... I write with a big book | 0:16:17 | 0:16:24 | |
and my writing pad supported on the big book. | 0:16:24 | 0:16:27 | |
And I get along all right. | 0:16:27 | 0:16:28 | |
LUDOVIC: And are you able still to read quite a lot? | 0:16:28 | 0:16:31 | |
Oh, yes. I can read. If I have the book here | 0:16:31 | 0:16:35 | |
and my close, near spectacles, | 0:16:35 | 0:16:38 | |
I can read. I can read much more slowly than I did, | 0:16:38 | 0:16:42 | |
but I do read it. | 0:16:42 | 0:16:45 | |
Nobody has caught me out yet, reviewing a book that I haven't read. | 0:16:45 | 0:16:48 | |
LUDOVIC: What do you read mostly? | 0:16:48 | 0:16:51 | |
What do I read? Well, I read a great deal of poetry. | 0:16:52 | 0:16:59 | |
And I read a certain amount of modern fiction | 0:16:59 | 0:17:03 | |
but with growing despair, | 0:17:03 | 0:17:06 | |
though I like some modern writers very much. | 0:17:06 | 0:17:09 | |
I like that Polish woman who writes about India, | 0:17:09 | 0:17:11 | |
with the unpronounceable name. | 0:17:11 | 0:17:13 | |
Mrs Prawala...isn't it? Or something like that. | 0:17:13 | 0:17:16 | |
- That's a very good writer. - Do you ever watch television? | 0:17:16 | 0:17:19 | |
Quite... Very often. | 0:17:19 | 0:17:22 | |
I asked you that because you've had a swipe at television interviewers, | 0:17:22 | 0:17:26 | |
Dame Rebecca, as you have at many... | 0:17:26 | 0:17:29 | |
You look surprised, so let me just remind you what you said. | 0:17:29 | 0:17:32 | |
In an interview in the Sunday Telegraph a few years ago, | 0:17:32 | 0:17:36 | |
you spoke of television interviewers, | 0:17:36 | 0:17:38 | |
"putting some minister involved in a crisis through his paces. | 0:17:38 | 0:17:42 | |
"A man who has never borne responsibility | 0:17:42 | 0:17:45 | |
"is giving hell to a man who is bearing responsibility | 0:17:45 | 0:17:49 | |
"of a specially onerous sort". | 0:17:49 | 0:17:51 | |
Now, those aren't exactly the views of a radical writer, are they? | 0:17:51 | 0:17:55 | |
- More, perhaps, of a Colonel Blimp. - No, certainly not! | 0:17:55 | 0:17:58 | |
Certainly not! | 0:17:58 | 0:18:00 | |
Why would that...? Now, this is absurd, | 0:18:00 | 0:18:02 | |
because this would apply | 0:18:02 | 0:18:05 | |
to any Prime Minister and any Minister for Employment. | 0:18:05 | 0:18:10 | |
LUDOVIC: But no politician has to appear on television | 0:18:10 | 0:18:14 | |
if he doesn't want to. | 0:18:14 | 0:18:15 | |
What chance have they? What chance would they have with their own party, | 0:18:15 | 0:18:19 | |
if they didn't have television... | 0:18:19 | 0:18:21 | |
make television appearances? | 0:18:21 | 0:18:25 | |
- It's practically compulsory. - Looking back on your life, | 0:18:25 | 0:18:30 | |
what is the book, or what are the things you've written, | 0:18:30 | 0:18:33 | |
that you would most like to last? | 0:18:33 | 0:18:36 | |
I don't care much about which book. | 0:18:36 | 0:18:39 | |
My best work, some of my best work, has been done purely ephemerally. | 0:18:39 | 0:18:45 | |
I mean, in newspapers, in reviews, because of various circumstances. | 0:18:45 | 0:18:52 | |
My husband was ill for a very great...for a number of years, | 0:18:52 | 0:18:57 | |
during which I really couldn't undertake any long, long work. | 0:18:57 | 0:19:02 | |
Er... | 0:19:02 | 0:19:04 | |
And I think that if you... | 0:19:04 | 0:19:07 | |
if you want to read what Europe was like before the Second World War, | 0:19:07 | 0:19:12 | |
the Balkans was like, I think Black Lamb And Grey Falcon | 0:19:12 | 0:19:16 | |
is quite a useful book. | 0:19:16 | 0:19:19 | |
I also think I wrote a very good life when there was no other in English, | 0:19:19 | 0:19:23 | |
oddly, you will be surprised to hear, of St Augustine, | 0:19:23 | 0:19:26 | |
which I think is really quite a good book. | 0:19:26 | 0:19:28 | |
And, um... | 0:19:28 | 0:19:29 | |
..I like one or two of my novels. | 0:19:31 | 0:19:33 | |
But as for lasting, I don't know if the universe is going to last, | 0:19:33 | 0:19:36 | |
- so what of it? - Dame Rebecca, thank you very much. | 0:19:36 | 0:19:40 |